AN UNBREAKABLE BOND

VLADISLAVA VOJNOVIC, the screenwriter of the short feature film "PAPER PRINCE", by the director Marko Krstic

Is this your first realized screenplay for a short feature film?

I am one of the best-known unknown screenwriter in this town. This is my thousandth screenplay for both a short and a full-length feature film. In some way, this is the first screenplay and in many ways it is not. I worked for FRZ "Belgrade" as soon as I graduated, which was twenty years ago, I have sold different screenplays to "Centar-film" for famous directors, the late Žika Pavlovic, Misha Radivojevic, but nothing of that all has ever been realized. The only realized screenplay was for the story "The magic" from the omnibus "The Crossroads", (the story was directed by Narcisa Darijevic). So, the answer is: yes but no!

In the summary of the film, in the Festival Catalogue, it is written: " Seven years old girl is left at home when her parents go out. Thus it happens that Julia lets a strange man into the house.” How can such a short sentence define the plot, the characters, the relations between them?

In this very interesting direction, postmodernism, in the observer's, i.e., the readers and spectator's eye in this case, lies the magic stick of interpretation of the work. Of course that this includes the authors who create the work. Someone will interpret that work in this or that way. When you finish writing you stop being the owner of that work and cannot influence on how its consumers will feel and who they will identify with. The children in this film are literally neglected but maybe it is even worse when their souls are neglected. Besides, we shrink when we just think of all that we do to earn for living. At the end of our film, you discover that only the God knows all that the parents do, but they are not so bad as the fact shows that they survive thanks to the father's 15 passports, and why does an honest man have 15 passports?

Do you see any hope that anything is going to change, at least in your professional (private) life ?

Well, the fact that I have met the director of this film, Marko Kostic, is something that brought back to me the faith in film and the possibility that something might happen. I think that for a screenwriter it is important to find “his” or “her” director, someone that they can work with as they understand each other. Marko is an exceptional person, and not just because I cooperate with him extremely well. He is, and it might sound shocking and exaggerating, a man and a director in the class of Rainer Varner Fasbinder , here and today. I think that if the Serbian cinematography gave him a chance, it would get something unbelievably great and very good.

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